By Alistair Fox, Michel Marie, Rapha?lle Moine, Hilary Radner
A better half to modern French Cinema offers a accomplished number of unique essays addressing all features of French cinema from 1990 to the current day.
• Features unique contributions from most sensible movie students on the subject of all elements of up to date French cinema
• Includes new examine on concerns when it comes to the political economic climate of latest French cinema, advancements in cinema coverage, viewers attendance, and the categories, development, and upkeep of theaters
• Utilizes groundbreaking study on cinema past the fiction movie and the cinema-theater corresponding to documentary, beginner, and electronic filmmaking
• Contains an strangely huge variety of methodological techniques and views, together with these of style, gender, auteur, undefined, fiscal, megastar, postcolonial and psychoanalytic studies
• Includes essays by way of vital French cinema students from France, the united states, and New Zealand, lots of whose paintings is the following provided in English for the 1st time
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Extra info for A Companion to Contemporary French Cinema
Hence, filmmakers such as François Ozon and Christophe Honoré have often created what can be described as an “impure cinema,” involving a high degree of artifice (and even kitsch) as well as provocative genre-mixing, as in the case of Ozon’s 8 femmes, which mixes several boulevard genres (comedy, melodrama, and the detective story). Accompanying this return to theatricality is the appearance of a new interest in incorporating elements of the musical into fiction films in the manner of Jacques Demy’s Les Parapluies de Cherbourg (1964), as can be seen in movies like Ozon’s 8 femmes and Honoré’s Les Chansons d’amour (2007).
1 Cinema attendance in France, 1896–2012. Statistics from the CNC. 2010 2005 2000 1995 1990 1985 1980 1975 1970 1965 1960 1955 1950 1945 1940 1935 1930 1925 1920 1910 1915 1905 1900 1895 0 The Political Economy of French Cinema 21 to grasp the importance of the quality of a pool of theaters, of the strategies of distributors, and of the effects of a cultural policy. French cinema attendance exceeded 400 million entries in the years following 1945. After the high point in 1957 of nearly 412 million, a vertiginous fall reduced the entries to 184 million in 1969, amounting to an enormous drop of 55%, which was profoundly destabilizing for the whole industry.
In the meantime, contemporary French cinema occupies an especially significant place in the context of world cultures, providing an alternative model to one with potential consequences that would obliterate all local specificities. In short, French cinema remains vitally important because, in holding out against international Introduction 13 arket pressures, its role historically has been, and continues to be, to show how m creativity and artistic excellence can be maintained in the service of values that transcend the merely commercial, and how a robust cinema and cinema culture can contribute to a nation’s sense of identity.
A Companion to Contemporary French Cinema by Alistair Fox, Michel Marie, Rapha?lle Moine, Hilary Radner